Folk, Rock & Pop within the Cinema

1	Days of Wine & Roses	1967 – Blake Edwards (USA)
	Lounge pop	Composer Henry Mancini; inebriation & subjective states; symbolism through musical arrangement

2	Do The Right Thing	1987 – Spike Lee (USA)
	Americana folk	Composer Bill Lee; black landscapes; musicological appropriation; harmonic reclaimation

3	O Brother Where Art Thou?	2000 – Joel & Ethan Coen (USA)
	Blues & bluegrass	Various traditonal songs & recordings; meta-rhythms in folk cycles; race & music technologies; musical anthropology and cinematic mythology

4	The Pawnbroker	1965 – Sidney Lumet (USA)
	Polyglottic jazz	Composer Quincy Jones; the imploded city; musical miscegenation

5	Shaft	1971 – Gordon Parks Jr (USA)
	Funk & soul	Composer Issac Hayes; the city grid and rhythmic patterns; race implications in ‘chase music’; song scoring

6	Wild Angels	1966 – Roger Corman (USA)
	Rock - group	Composer Mike Curb / Davie Allen & the Arrows; primitive electricity; the sound of rock; motor mechanisms

7	Dead Man	1995 – Jim Jarmusch (USA)
	Rock - solo	Composer Neil Young; rebirthing ‘silent cinema’ music; electricity and mystic lore; solo instrumentation and mythic being

8	Rumblefish	1982 – Francis Ford Coppola (USA)
	Art rock	Composer Stewart Copeland; clock time and temporization; percussivity; internal biorhythms

9	Resident Evil	2002 – Paul Anderson (Germany)
	Electronic beats	Composer Marco Baltrami; dissolution of atmosphere; player/user musical dramatics; sonarization of space

10	Patlabor 3	2002 – Fumihiko Takayama (Japan)
	Electronic ambient	Composer Kenji Kawai; liquefied sensations in music; tectonic frequencies; harmonic displacement